On Feb. 20, I walked into Union Transfer with a ticket, a dream, and no idea what I was getting myself into. I was there to see Alcest, the first French band I’ve listened to and one of the few non–English groups I've ever explored. Though I went into the night blind, the experience was nothing less than breathtaking—Alcest performed every track beautifully, bringing their stories to life on stage. As the show continued, a question of great importance arose in my mind: Why don’t other people go into shows blind?
I enter the venue after slipping on possibly the only icy corner in Philadelphia (11th and Noble). Making it past security, I walk through the lounge area and see a large merch booth selling T–shirts, hoodies, and other apparel emblazoned with the logos for both the openers and the headliner. Beyond the door next to the merch booth was the main floor and stage where one can access the bar, the upstairs seating, and beautiful wooden paneling. I don't know what to expect from the artists themselves, but as soon as I see the stark polarity of the audience—a combination of men my dad’s age wearing baseball caps and goth girls with dyed hair—I know the show will be amazing.
Alcest is a French band that combines black metal with shoegaze, creating a unique subgenre called “blackgaze.” Their music consists of Deftones–esque screaming vocals in French and English (or, in some cases, Japanese) accompanied by intensely calming production. It seems oxymoronic, and it is, but upon listening, it becomes remarkably clear how well they blend these opposing elements.
I was observing the diverse crowd when Kælan Mikla, an Icelandic gothic post–punk band, walked onto the stage. They wore black Victorian–era dresses that complimented the lead singer, Laufey Soffía’s, otherworldly, ghost–like interpretive dancing and darkly angelic vocals. The music can only be described as what would play during a rave scene in a high–intensity action movie: loud and operatic, complemented by a hailstorm of chaos from the crowd of people. The band threw me for a loop because this wasn’t the type of music I was expecting, but I wasn’t complaining: the crowd was loving it, and so was I.
After a soft–spoken goodbye, Kælan Mikla left the stage and Japanese instrumental rock band MONO entered the room. After waiting quite a while for some hard–hitting vocals to accompany their hard–rock sound, I made the embarrassingly late discovery that there were no microphones on the stage. I was slightly deterred at first but realized that it allowed me to focus on the ingenuity of their instrumentation and the complexities of their performances. Their use of unique instruments like gongs, xylophones, and a violin bow on a guitar was met with loud applause and white guys yelling “Arigato!” at them. The group was unconventional but ticked all the right boxes.
After MONO took their leave, the stage was redecorated; two large phoenixes posed in front of what looked to be a rising sun. Various large potted plants were sprinkled around the stage, too, and the whimsical environment provided a relaxing ambiance as audience members eagerly awaited the headliner’s entrance. Eventually, Alcest walked onto the stage and the crowd cheered louder than ever, ready for the dazzling show.
What happened in that next hour and a half cannot be captured in the scope of the English language, but for now, we’ll use the word “divine.” The crowd headbanged to the rhythm of guitars and fast drumming. Alcest joined in, their long, majestic, well–conditioned hair whipping around their faces as they played. The lead singers cut through the soft instrumentation with harsh screams, despite their tranquil body language.
The group punctuated their yells with soft–spoken crowd work, introducing songs and gently thanking Philly for coming out. They spoke with such sincerity you almost couldn’t believe these were the same guys wailing into the mic just seconds before. After their performance, the band left for five minutes before returning for a five–song encore.That was a breath of fresh air. Most, if not all, of the recent concerts I’ve been to have ended without an encore—I almost suspected they were a thing of the past.
The show, without a doubt, exceeded all of my expectations. However, as I was standing in the large crowd, overheating in my winter jacket that I probably should’ve taken off upon entry, I was struck by an odd nostalgia. The spontaneity of the experience reminded me of some of my best memories as a child and teenager: attending unknown rock concerts with family and expanding my musical horizons.
Watching as Alcest played fan favorites like “Autre temps,” “Le miroir,” and “L’Adieu” brought these crucial memories flooding back. The crowd aggressively swayed and sang along word–for–word, showing genuine admiration and love for the band. It was clear that Alcest appreciated the excitement—smiles grew on their faces every time the audience responded to their crowd work.
Time spent exploring the world of music is never time wasted. Union Transfer, Franklin Music Hall, and World Cafe Live host artists from around the world all the time for low prices. Tickets at these venues are usually cheap and don’t sell out—so if you’re free one night and a musician seems interesting, check them out! Initially, the concept of “blackgaze” sounded odd—but Alcest quickly proved me wrong, stunning me with their powerful and unique musical stylings. Go in completely blind, and who knows: maybe you’ll end up like me and find your Alcest, a band who excels in their craft and lands in your weekly rotation.
